My image for my body on ceramic tile didnt just pop out of no where. I created it in illustrator using the wacom tablet. I recommend everyone or anyone who designs to either buy or at least try a wacom. I have had mine for like 5 years and I love it. When I started creating my image in illustrator I used a image to base my illustration on. Then I tiled it and seperated them based on the actual ceramic size. Finally I stuck my paper in the printer and booooooom. It was ready to go.
Without a doubt I believe our student show turned out well. It was a great feeling to be able to just stand at peace and look at all the completed projects. I am sure everyone was rushed towards the end and that many were stressed. But when it came down to the wire and that final run, we all got it done. I loved how things worked out, more importantly I loved the tacos in a bag. Quite a few people showed up to gaze upon our final pieces and then left a cool little post-it note to let everyone know how they felt.
We did good work people. It may have been rocky at times or slightly confusing. Maybe you wanted to throw a watermelon at a wall and watch it break. Or run through a corn field naked.....ah maybe not. But seriously, I would use the word impressive for how we got everything to work in the end. Also someone needs to scrap chads epoxy off the art floor, I did see a slight drop or so. Just kidding Joellyn "Tenure" Rock.
If you didn't see my piece, here it is. Its the idea or shall I say the interaction between the internal and external and beginning to see how the body works as a structure or vessel. I worked alot trying to find the right materials to carry out this idea on ceramic tiles. I wanted my tiles to be an investigation between the viewer and the piece. Each time being different but slightly the same. Being the viewer you could change the order and set up of the tiles. In some ways creating an entirely new but yet human form. The idea: Our body as a structure can be taking apart and changed in a way that will still yet work but always be a vessel of ourselves.
First and foremost, this is a tough process if you do not get the right paper. Make sure you have the ceramic lazertran for lazerjet. For some reason the ink jet doesnt work well when firing. It basically sucks.
1. Print your image and fill up a bowl of water. Also have your ceramic piece ready to go. AND THAT IT HAS BEEN CLEANED. You don't want it to peal off in the kiln. NO NO NO.
2. You want to cut the image off as close as possible to the image. This well help seal it on easier since there will be less lazertran to cover on to the surface.
3. You will now use the bucket of water. You are going to put the paper into the bucket for roughly. 60 seconds. or until the paper seperates from the lazertran.
4. Take image out of water and place on ceramics. Push down on one edge and then pull the under paper out, leaving the clear lazertran on.
5. Once paper is gone, begin to smooth out the lazertran, getting rid of as many bubbles as possible. Once this is done, place in kiln at either cone 03 or 04. Can be fired as low as 06 but in my experience 03 and 04 gives the best result.
So I ponder. This semester will be my last in college. And this class will be my last studio class here at UMD. I can honestly say I learned a lot about my process in the ceramic and the image transfer world. Being that I tried roughly 5 different papers, which none of them worked until the 5th one? I find it interesting how when we stumble across an answer to something it comes at the last minute, the last run. I am crunched for time to go further into my study of ceramics and the digital world for this semester. Although I am not done, I have too much clay and too much time this summer to let my study go. My semester is coming to an end as all of yours is, so I employ all of you to dig deep in your free time and scratch into the digital world you have entered this semester. Go further into the depths of your imagination and pull something out.
You can now use flash with indesign allowing you to create a website...ridiculous
Check this out. ITs a documentary film on the electric guitar. With Jimmy Page, Jack White and the Edge. ITs sick.
I create my art to examine and communicate the personal, political, social and environmental issues that are important to me.
By creating a type of narrative which employs recognizable images as symbols and metaphors, I aim to provide new ways of perceiving and understanding these issues. I refer to these works as symbolic narratives.
My work is also meant to provoke questioning both visually and conceptually.
I develop this narrative by placing these symbols in juxtaposition to their origins or in otherwise ironic settings. This conflict between expectation and contradiction is further reinforced by the placement of the drawings on the sculptural forms. In one area the sculptural character may be defined and strengthened by the drawings, while in other areas the form itself may be nullified. I use this pushing and pulling of space and illusion as another means of manipulating the viewer's perception. These conflicts and contradictions encourage a questioning atmosphere and direct the viewer to examine the ambiguities of reality, illusion and perception.
Another consistent theme in my work involves integrating the human presence with the narrative. Though a recognizable figure is rarely depicted, I utilize images that refer to this presence.
My use of predominately black and white is influenced by German Expressionist Wood Block Prints.
When working on ideas for pieces I look for contradiction, irony and humor in the world that surrounds me. I like to take notice of both how we impact this world and how we interpret that impact.
The Drawings are created with wax resist and some scragiffito.
I use clay to illustrate a world in which small acts of everyday life revel in their full
importance, defined in bold composition and subtle detail, which results in a rich
storytelling that is both quirky, sombre and humorous.
The celebration of domestic rituals has been a central theme in the narratives, with
more recent work encompassing folk sayings.
Intricate narrative illustrations are etched with needles on to raw porcelain and
stoneware, before stains, glazes and decals are fired on.
Forms range from framed panels and vessels to books with moveable pages, folding
screens and clocks.
Being a graphic designer I am surrounded by digital images. These images may vary from photographs to illustrations, to just the simple use of type. I love all of these types of images and how they are produced. The process of these images is complex but unique that is what draws me in to them. The layers and depth you can create on a simple surface using digital media is outstanding. My question now is how I can take these images to the next level. That is my goal, I want to take these digital images and bring it to the next the level.
Through my years at UMD I have found that ceramics allows me to transfer my graphic design skills into a different environment. By doing this I have learned and reinvented myself as an artist and a designer. I am drawn to the curves, angles and use of type. I try to use type as much as possible in my work on the simple fact that you can read it, therefore it must communicate but now I want to expand the use of type. I want to merge image with type, and layer it on to ceramics just like how you can layer in Photoshop or illustrator. So how do I do that?
The next step I feel is to make a ceramic book. All books tell stories with type and image. Graphic novels are becoming a cult trend and are being made into movies. Now I do not want to make a graphic novel but the way illustration and type is merged to tell a story or express an idea is without a doubt useful to my idea.
I have two sets of books I am interested in making. The first serious will be based off of blueprints and how they show scale and explain. By using a blueprint theme I will then focus on figures and body parts and how they layout on my ceramic canvas/pages. Now the next serious will be more type based. These will be poetry books that use type to carry the poem through each page. I am considering these to be made like an accordion book or possibly a tile puzzle where you slide the tiles.
Growth is one word that will be in the back of my mind during this project. I am interesting in the process of doing things. So for each piece I want to gain an understanding of how to mold clay into something that speaks my ideas as a designer and artist.